Word: whose
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Dates: during 1970-1979
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...visual and aural dynamics. If, as in Sweeney Todd, he has tossed away the key to the human heart, he is a master strategist of the stage. He deploys his acting troupes with brilliant precision at a crackling tempo. It is Prince, aided by a huge gray screen whose cyclopean eye brims with historic film clips, who hurls the dramatic thunderbolts of the evening. In two scenes of mass turbulence, with banners flying and the crowd in a hypnotic roar, Perón and Eva turn their microphones into rhetorical firebrands, and Prince engulfs play ers and playgoers alike...
...with these decadent people? It is not to create a morality play. The director does not ask us to care about his characters or even to judge them; they are only instruments to make us share his vision of the world. As always, Bertolucci owes a lot to Verdi, whose life and work is invoked here even more than in 1900. The director believes that life takes on its fullest meaning when it is lived at the intensely passionate pitch of grand opera. By sheer cinematic force, he seduces us into sharing his perverse, voluptuous sensibility...
...hypnotic, erotic and beautifully shot (by Vittorio Storaro) that we enter the movie's unpleasant milieu easily and remain captivated throughout. While the film is full of golden Parma landscapes, the dominant visual fixture is the moon: it is the film's metaphor for characters whose mysterious dark sides only gradually reveal themselves. In Bertolucci's brilliant climax, set at an open-air opera rehearsal, his artis tic conceits all converge. As the camera constantly shifts its point of view, we see that Luna 's events form a different drama-or opera-from each player...
Nixon was a Washington Senators fan until eight years ago. When the team left town in 1971, Nixon pronounced himself "heartbroken" and switched loyalties to his "home town" Angels, whose Anaheim stadium is 35 miles from San Clemente. True to his word, the former President has shown up regularly at Angel games, autographing baseballs and copies of his memoirs. This year he bought four season tickets, and informed management: "Since you've obtained Carew we know you are making every effort to bring a winner here, and we want to support you." Nixon attended 20 games, 14 of which...
...work and examples out of Beckett, Borges and Nabokov, he evolved assumptions that increasingly governed his fiction. Among them: the number of stories to tell is finite and dwindling; print has been rendered passe by film and electronics; realism is an irrational goal for the writer (What is real? Whose reality is it?); art rehashes art. Barth's response was to exalt artifice and make telling the subject of the tale. Giles Goat-Boy (1966) was less a novel than a treatise on the archetypes of heroism; some of the stories in Lost in the Funhouse (1968) suggested antiphonal...